When 100% Silk, or their parent label Not Not Fun, puts out a new record with a companion cassette, you know that’s being added to your shopping cart. Whether it’s the humid, languorous synths of X.Y.R., the meditative flute workouts of Les Halles, or the late night dance grooves of JupiterJax, the companion tape allows the artist’s vision to sprawl, and we’re all the better for it.

The latest treatment of this cross format release is the new 12-inch and tape from The Cyclist, whose “tape throb” aesthetic has graced listeners’ ears the better part of the past seven years. The 12-inch has been covered, and so we’re here to fry your ear drums with “Cologne Halls,” taken off the Cyclist’s Beat at the Heart of the City cassette.

“Cologne Halls” is a little slower and more atmospheric than the usual Cyclist material, but the tune, like the rest of Beat, goes deeper for a sound that resonates to those familiar with the project, but comes up with an intoxicating blend of dance, dub, and that patented “throb” heard across Andrew Morrison’s catalog. Zone out to “Cologne Halls” below, and be ready for Beat at the Heart of the City, along with the Alabaster Thrones 12-inch, which will be available from 100% Silk April 6.

The ever so smooth and sanguine Luttrell has returned to Anjunadeep for his third EP, Intergalactic Plastic, with the deep house/techno label.

The handlebar mustachioed San Fransisco native formerly served as one half of OWSLA-affiliated The M Machine, before hatching his solo venture in 2016. Luttrell’s sound is characterized by crisp, melodic techno and highly visceral deep house — not entirely divergent from the emotive energy that fueled The M Machine.

The three-track EP (with two extended cuts) radiates Luttrell’s kaleidoscopic, dreaming-with-eyes-wide-open sound that is profoundly emblematic of Anjunadeep as a whole. The celestial title track, “Intergalactic Plastic” sets the tone for the journey-simulating project, with its ethereal chord progressions and echoing, astral-themed synths. “What You Are” is an atmospheric club track, with an airy female vocal and subdued bassline. Finally, the utopia Intergalactic Plastic sets out in search of is reached with “Wake Me Up Tomorrow.” Fans first tasted its breezy deep house bliss when it was included in the Anjunadeep 09 compilation album back in 2017.

Luttrell is scheduled to accompany both Above & Beyond and Lane 8 on their respective tours, as well as Anjunadeep’s debut festival Open Air in August.

The mans with one of the raddest heads of hair in the industry has captivated millions across the globe with his vertebreaking sound. Announcing an his album “The Mystifying Oracle” will be dropping in the Spring, along with a tour across North America, David Lee Crow has not skipped a beat on his socials. If

A definitive time scale by which new Flume music will arrive remains elusive, but the ID that the Australian producer shared during a recent performance at Australia’s Field Day Festival arrives as evidence of time spent in the studio.

Defined by its eccentric electronic embellishments and mounting percussive elements, the ID bears the distinct trappings not only of a Flume release, but of a would-be fan favorite, pending release.

• Wolfgang Voigt released Pop, his fourth album under the name GAS, on March 28, 2000. His next and most recent, Narkopop, was released on April 21, 2017.

• A NEW GAS album, Rausch, is going to be released on May 18, 2018, barely a year after Narkopop.

Like most albums released after long public absences, Narkopop was greeted like a gift. (And like only a few of its long-awaited peers, the glow of its immediate reception has not dimmed.)

The announcement of Rausch is, in a lot of respects, more surprising than Narkopop was after more than a decade and a half of dormancy. Does the short interval between Narkopop and Rausch signify a return to the same pace? Or could Rausch, however it sounds and whatever its reception, be followed by another decade-plus gap? Will GAS settle into existence as just another artist releasing albums at regular intervals? If so, will the project’s sense of mystique dissipate? What were the components of that mystique — how much came from GAS’ intoxicating sense of aesthetic unity, and how much simply from the lionizing chatter that ensues when an artist retires at their peak?

All of Voigt’s GAS-acknowledged GAS-releases (not including the self-titled album and first EP, which were not included in the GAS BOX of a couple years back, and which Voigt does not seem to consider a part of the project any longer) have possessed subtle but distinct differences from each other; and so it looks to go with Rausch. Although the forest imagery on the cover remains, the details so far released about Rausch take pains to call it not simply an album, but a “composition,” a unified work.

All of the prior GAS albums make the most sense as front-to-back listens (and most of them have even historically had differences between their CD and vinyl editions), but this time the difference is clearer: the vinyl will have only four tracks, A,B,C,D, divided by side; while the CD and digital version will have seven, and their listings in Kompakt’s press release come with the following note: “all formats contain the same version of Rausch. The album is meant to be heard from beginning to end as a whole. It has been track marked or separated due to format restrictions.”

The release also includes the following poem:

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there’s nothing / Once upon a time there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles is gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist /Heavy as lead / Music happens / To flow like gas / A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite

There will be a live premiere of Rausch in Cologne at the Köln Philharmonie on May 9, followed by a global tour. The album is pre-order-able now from Kompakt, and its announcement also comes with a trailer, which you can watch below. The trailer also includes a number of tour dates leading up to and following the premiere and release of Rausch, which you can ALSO read below. Because, frankly, I can’t type one more sentence. I’m totally gassed.

Ibiza is Heaven for any Electronic Music fan. Whether you dig the underground techno scene, mainstream EDM or just love the music as a whole, Ibiza delivers on all levels. When you look at the World of Electronic Music, you have places like Las Vegas that have set itself apart with their Pool Parties and

This one is definitely coming with me throughout the year. I don’t know where Orchid Mantis has been my past few years of walking around, but this tape has been an utter trip for me.

When I heard “sunlight” for the first time, I figured this was going to be a gorgeous listen. I took it with me on a little nature excursion a few days ago and it couldn’t have been a more vivid walk. Orchid Mantis is the sort of dream pop that’s closer to a patchwork than a sunbeam, but no less sun-bleached. Thomas Howard’s cotton-wrapped vocals become just another part of the melody collage in “sunlight,” a piece of its own, but essential to the entire track.

Amid some dormant trees, fresh water, and stellar sun, Orchid Mantis has me on another wavelength, one of textile memories. If there’s anything this project is a testament to, it’s the power of found sound. Man, am I glad to have found this one. Head over to the very cool Z Tapes to grab this lovely tape.

MGMT never had a chance to sell out because they arrived already bought-in. Instead, after finding success on their debut album, the band adhered to the opposite trope, burying their heads further into the sand in their pursuit of music so outwardly antagonistic as to dare listeners to continue riding the hype train. Pulling a … More »